By Charles Evans There exists a form of received wisdom in popular culture which can be deadly for a work of art or entertainment. Essentially, if enough people decide in advance that something is true, it becomes the de facto truth, and little can be done until a reevaluation occurs. If one occurs at all.... Continue Reading →
While ostensibly a monster film, it is equally a revenge film and an action film. And I guess a hopping turdman film, which also makes it the only example of that I can think of.
Ask any two horror fans why they’re fans in the first place expecting similar answers, and I think you’re in for some disappointment. We come to horror for as many different reasons as there are fans in the first place. But if you’ll forgive my armchair psychologizing, I think that all horror fans are, at... Continue Reading →
It isn’t that I believe Toho and co. were making a Godzilla film about the coronavirus in 2016, that would require a tin-foil hat and perhaps an antipsychotic prescription.
I’d bought this book years ago and somehow managed to never get around to actually reading it. I had a cursory knowledge of Adamson’s work, having seen Dracula vs. Frankenstein (1971) and Satan’s Sadists (1969), but that was really about it. I decided some months back that thanks to their stellar track record of running exactly parallel to my tastes that in general I would give Severin Films the benefit of the doubt on any release that they chose. The fact that company owner David Gregory has decided to not only make a documentary about Adamson, but that Severin also recently announced a mega box set release of 30 Adamson films AND the documentary, I decided that now was the time to pull this slim volume off the shelf and give it a go.
By Aaron AuBuchon There’s a truism amongst cinephiles that runs so strong and so deep that to suggest otherwise is to risk ridicule, banishment, ritual torture and summary execution. And that is that it is best to watch a film in a theater with a large audience. This is always presented as an a priori... Continue Reading →
Patrick Bateman. Alex DeLarge. Tony Soprano. Walter White. Tyler Durden. These characters are all typically recognized as intriguing but scathing excoriations of male egomania, curdled by nihilism and sadistic violence. Yet few regard John Travolta's Tony Manero in this light, when in fact he's always stood as an all-too-close cousin to these figures.